"Who is the monster and who is the man?" : The Hunchback of Notre Dame [1996]

[timepiececlock]

I watched this film, or at least some of it, over ten years ago, but I can't remember much, so it feels like watching a new film.


What year is this set in? ::is trying unsuccessfully to guess by costumes::

Why do all the male gypsies look like Inigo Montoya? I mean, a lot of them were Slavic so you'd think they'd have rounder faces.

You know, Quasimodo would have had a happier childhood being raised by gypsy parents, I'm guessing. They wouldn't have been perfect, but they would have probably been a hell of a lot kinder than Frollo. Though I don't think they were his real parents, since he's a redheaded white boy and they were very darkly drawn.

The public humiliation scene was dark... I didn't remember it at all. Maybe I never saw the full movie? That would explain why I have huge gaps in my memory of the plot. Anyway, wow, was that dark. So far this is darker than any other Disney film. I like how they're handling the religion aspect, though. It's a core theme and they're embracing it rather trying to pare it down. Quasimodo's "alphabet" lessons were funny for what they said about his upbringing.

Some of the humor here is really working for me. Phoebus's introduction, and "It means sun god" bit were really quite funny. His entire flirtation was excellent. This whole scene reminds me of the scene in Zorro with Katherine Zeta Jones. Pheobus himself reminds me of a younger version of Captain Vimes of Discworld. This would be him when he was young, before the alcoholism and the soul-crushing cynicism but still with that frank approach to "coppering" and the just-do-your-job attitude, mixed with a nasty sense of humor. Maybe like Carrot + Young Vimes. (I'm reading Amazing Maurice right now, book 27)

I vividly remember thinking the Frollo>Esmeralda thing was really dark and being surprised by the sexuality/sin content being expressed. The moment where he sniffs her hair and she says "I know what you were imagining," is right in line with that, and a precursor of things to come.

The song sequence for "God Help the Outcasts" is beautifully drawn and designed. I love the soft warm colors. Such a contrast to other scene's dreary blues and grays. Her expression that she "can get by" without help made me like her character--this is not a teenage girl and not a weakling. She's an adult who knows how to support herself in the world, even if her methods are not glamorous or fun.

"Frollo's nose is long and he wears a dress."
"Hah! Told you. Pay up." ::SNICKER:: Okay, I would never have gotten that joke as a child.

I love Kevin Kline. I don't think I say that often enough in my LJ. I LOVE KEVIN KLINE.

Like B&B, this has a somewhat operatic, stage feel. though it would be more difficult to transpose to stage, I think.

Reaction many years ago: "FIRE DANCING WTF DISNEY?"

Reaction now: FIRE DANCING WTF DISNEY?

"It's not my fault!" / "You made me do it!" / "Entitled!" / "I hate you all anyway!" / "You're a bunch of persecuting jerks!" ....wow, Frollo is like a really wanky BNF trying to justifiy his own kerfluffle.

Actually this scene is quite a bit more dramatic, operatic, mature, and dark than any "villain's song" I've seen from a Disney film.

WTF? Burning homes and murder? Genocide? Disney certainly isn't pulling punches with this movie. ....HAHA. You know what? I've seen this and worse on ATLA, also a kid's show.

I assume this act of basic human decency and rejection of authority is what makes Esmeralda really fall in love with him.

"The city of Paris is glowing this evening. True, that's because it's on fire."

Although they have some funny lines, mostly the gargoyles are annoying.

Oh man. Poor kid. Heartbreak sucks BIG TIME, I know. ::hugs::

::blink:: wow, they're still at it? That's a lot of making out for a Disney movie.

HAHAHAHAA shoved under the table while bleeding from a chest wound. Clearly this is a Disney movie that requires a different flavor of appreciation.
.... and kicked in the face, too? The second half of this movie is getting more and more awesome by the minute.

Cripes, is there anything not scary about Frollo? He's the least funny villain since Maleficent. He doesn't even have witty one-liners like Jafar (who was quite funny for someone so dry and glum.)

Wait a minute, now he's walking around with a chest wound?

The script is handling Quasimodo's frustrations with a surprising amount of sensitivity and honesty.

Phoebus & Quasimodo - I love how when they're arguing, they're both still holding onto the necklace... and keep holding it even after they go back to talking.

I love the backgrounds in this film.

Okay, I LOVE that the puppeteer is the Secret Underlord Of Parisian Organized Crime.

But... man... is EVERYONE in this movie happy to ax the next guy? A startlingly frank take on violent life in historical periods. I also love that the puppeteet/judge has a little bellyfat. I don't know why, but that character detail amuses the crap out of me.

This brief song, "The Court of Miracles", is the most catchy and creative song in the film so far. It reminds me of something I've heard before. The vocal acrobatics of the puppeteer's voice are impressive.

Yeah right, like they're going to bring a thousand soldiers into the heart of Paris. Right. Sure. It's not like Frollo actually has to report to anyo--OH WAIT, MAYBE---THE KING? Gee willikers! King's generally don't like it when local governors get ideas about amassing armies.

This witch-burning scene is ...again, dramatic and dark. This is such a dark film in general.

And he breaks his chains, and it looks like the pillars shake... making him Samspon, I suppose.

Damn, that's a really long rope to swing. Nice perspective for this shot.

REVELUTION! Oh that's very French.

Okay, the "Fly, fly!" Wicked Witch gag was pretty sweet.

Wait, why does the belltower have a pot of smouldering oil? (or something). What? It's not like the bells are actually forged in the cathedral; they're made by blacksmith artisans somewhere else in the city or countryside. Cool waterfall fire imagery, though.

Smoke inhalation's a bitch. Even if you live, that shit causes brain damage.

Watching Quasimodo cry... is like watching Bambi cry. Nobody can handle that.

"---and plunge them into the fiery pit!" Yeah, I saw that coming.

That's nice, pressing their hands together like that. A marriage of sorts, in the house of God, by one who certainly has the heart and wisdom to be a true servant of faith.

And it's... MAGICAL LITTLE GIRL OF INNOCENCE INCARNATE! Of course. Of course. How could I ever forget the magical little girl.

Aaawwww...

Someone get the magical little girl of innocence incarnate away from the Secret Underlord Of Parisian Organized Crime. This CAN'T BE GOOD. ::is having a minor crush on the puppeteer's singing voice.


OVERALL: [SPOILERS!]

I wish I had rented and watched it in widescreen to really appreciate the gorgeous backgrounds of the city, but I still got a good kick out of them in small-screen.

Story wise it's not my favorite plotline, but in terms of scope and ambition the writers and animators deserve an applause. They took dark material and committed to it. I respect that.

Character wiise, I loved Quasimodo and I appreciated that we saw him as a fully-developed character, flaws and nobility. I also liked Esmeralda quite a bit (though she got dragged around by the male characters as a helpless body at the end), and Phoebus was a Disney prince in the traditional Sleeping Beauty mold: he is noble and true and never gets in the way too much. Also, I love Kevin Kline.

Clopin, the puppeteer / King of the Court of Miracles, was entertaining in the way of typical Disney narrators. I liked the animation and musical style for him, as well, and I liked that he was funny but also threatening later. It goes with the theme that each character wears a mask, and that there are many sides to a person. Phoebus is good at heart but still participates in oppressing the people. Quasimodo is good and sincere, but has to learn the difference between being selfish and being generous not just to the people you care about, but to those you don't (a natural extension of having social interaction for the first time.) Esmeralda is a dancer, but only to "put bread on the table." Frollo's mask is so obvious and overworked in the story it's not worth reiterating. I wish they'd made him a little more human and shaded, but I guess if we sympathized with him at all we wouldn't be allowed to see him fall to fire.

On music: rare for a Disney film, I like the score (and choir) better than the actual character songs. I don't dislike them, but they didn't stick much (except, ironically, Frollo's song, and The Court of Miracles, brief as it.) I like the continuity of the music in this film-- from the cathedral to Frollo to the gypsies, it all has the same core. Especially the cathedral's music (which is also the music of the city as a whole.) The puppeteer's introduction song "The Bells of Notre Dame" is very similar to the song that opened Aladdin in style, but I liked this one better. While it's not as sing-able and catchy as "Arabian Nights" (and less racist), I appreciate the artistry of it more. It's more artistic. I probably won't remember it, though. Musically, I have to give props to the singers/voice actors for Frollo and Clopin. And the choir; they were pretty snazzy too.

Comments

[vickiso.livejournal.com]

Back when I watched Disney flicks religiously (circa The Little Mermaid to about Hercules), I remember watching this one and thinking this was one of the not-so-good of the set. Funny, you've reminded me of a bunch of scenes I remember nothing about. I guess it deserves another watch.

I will never forget a newspaper article I read of a reviewer interviewing a grade 6 French Immersion class who'd studied the original Victor Hugo novel, and then gone to see the Disney flick. They all hated it because of the sappy liberties they'd taken to the story.

[rashaka.livejournal.com]

I had the same reaction--- I remember thinking it was not taht good. I liked it better this time around.

Although it does get sappy, it's worlds darker than any other Disney film I've seen (I haven't seen them all). Still, I'm sure they changed a lot. Luckily, I haven't read the book yet. I read Les Meserables and I hated the live action film that came out in the 90s, for pretty much the same reason.

[gojira007.livejournal.com]

Yeah, "Hunchback" was one of the Disney films that, even as a young'un, never grabbed me as much as others before and after it did. Nevertheless, these days I appreciate it a lot more for the many ways in which it managed to succeed, even if they're still not enough to make me consider it great.

I also agree that "Hellfire" and "Court of Miracles" are the best numbers of the film, and I DEFINITELY second your feelings on the Choir and background music; more than anything else in it, THOSE are the aspects of "Hunchback" I remember and enjoy the most.

[rashaka.livejournal.com]

It was the most operatic and ambitious villain song I've seen from disney. It's not easy to sing, nor is it pleasant to sing to yourself given the content of the lyrics, but to watch it was amazing.

[gojira007.livejournal.com]

Easy? No, I suppose not, but more than once I've enjoyed myself by singing it, because it REALLY puts you into that state of mind, that feeling of intensity.

I also have to admit, I listen to it frequently because I have this unshakable temptation to one day make it into an Avatar AMV with Zhao and Katara (and Zuko, because for some reason the soundtrack version of the song is merged with "Heaven's Light"...), disturbing as that sentiment may be. X_X

[rashaka.livejournal.com]

Maybe Long Feng instead? He seems more the type.


I wouldn't mind seeing Jet & Freedom Fighters at the Court of miracles.

[gojira007.livejournal.com]

Heh...actually, those're both EXCELLENT ideas, and you're right; somehow, Long-Feng does seem more the Frollo-type: iron-fisted in his beliefs, clearly self-repressed...it could actually REALLY work.

[hex-the-ex.livejournal.com]

I can't say I remeber being to fond of the movie, or even remeber it all that much. Though I did rather like the gypies, I always like gypsies though, except when they harass you in real life, because thouse are some persistent people those gypsies.

Though I'm an huge huge fan of the Victor Hugo book, so the movie itself kind of clashes with me internally. Book-wise, I really hate Phoebus and wasn't too big a fan of Esmerelda. It sort of bugs me to see him become become heroic. Though its been years since I saw it, so maybe I don't dislike it as much as I feel I would. Though I'm a bit impressed Disney would take such dark material on such and epic scope. They going to try Les Mis next?

[rashaka.livejournal.com]

If they think they can take a book called "The Miserable [people]" and make it work, that's too much even for me.

There was an anime version made this year, weirdly enough. I think it mostly dealt with the little girl, though.

Phoebus was totally innocuous in the film. Heroic but not so much that he really matters to the plotline.

[jade-sabre-301.livejournal.com]

Having the same reaction as everyone else--I remember watching this the first time and being 1) scared to death of the "Hellfire" song, 2) overall left with an "eh" impression, and 3) REALLY REALLY EXCITED to hear "Kyrie Eleison" being sung by the background choir because HEY THAT'S WHAT WE SING AT CHURCH. (Yep I am a sucker like that. All your Latin hymns are belong to us! Well the Kyrie is Greek. BUT THE OTHER SONGS ARE LATIN.) So, yeah, Stephen Schwartz wins so many points for the score simply for variations on a theme by the Roman Catholics. I also really, really like Hellfire, now that I've gotten over being scared of it. But--yeah, there's a lot of implied sex in this movie, and I remember being surprised by that when I got a little older and understood it.

And the gargoyles, in general, suck. I have the soundtrack, and I listen to the first thirty seconds of "A Guy Like You" (just to get to the line you quoted about Paris) before skipping it. Partially because I feel SO BAD for Quasimodo, and partially because the gargoyles are so out-of-place. I guess they had to a) satisfy the Disney sidekick requirement and b) give the kids SOMETHING to laugh at, 'cause damn, there's not much else.

And Clopin pretty much rocks. Le Fin.

[rashaka.livejournal.com]

I don't know anything about latin church music, except that I have a category in my music folder called "Latin chorus & chants [assorted]" where I deposit all the gorgeous choir music and chanty stuff I can find. "Suo Gan" from Empire of the Sun is my favorite song of that type EVER. It can almost make me cry for the pure emotion and beauty of it. It's actually a welsh lullaby, but the choir in the film really works it, especially with the young boy's voice.

But--yeah, there's a lot of implied sex in this movie, and I remember being surprised by that when I got a little older and understood it.

I think I was somewhere around 12 or 13 when I watched it, so I definitely understood that scene, and was surprised by the content.

[crzysheelf.livejournal.com]

Your commentary is probably the funniest thing I've read in a long time. Glad you like HoND. I was always a fan.

[crzysheelf.livejournal.com]

P.s. there's a HUGE Puppeteer (Clopin Trouillefou) following within the fandom.

... not that I'm a huge supporter of that or anything... *cough*

[faoiltiamatani.livejournal.com]

Hellfire and The Court of Miracles are definitely the two best songs in the film. I remember not realizing the implications of Hellfire until I was older, and then going ¨"Woah, Disney! Woah!"

The King of Fools/humiliation scene I still have to skip past. It makes me too uncomfortable.

Clopin was my favorite character, in that I found his jovial yet also somewhat dark nature to be really interesting.

[fani.livejournal.com]

Frollo, supervised by le magnifique Kathy Zielinski (http://www.imdb.com/name/nm0956199/)